Having played drums in his high school band, Vallee played clarinet and saxophone in various bands around New England in his youth. In 1917, he felt that Uncle Sam needed one more brave young man in the Great War, but was discharged when the Navy authorities found out that he was only 15. In 1924-5, he played with the "Savoy Havana Band" in London, England. He then returned to the States to obtain a degree in Philosophy from Yale and to form his own band, "Rudy Vallee and the Connecticut Yankees." With this band, which featured two violins, two saxophones, a piano, a banjo and drums, he started taking vocals (supposedly reluctantly at first). He had a rather thin, wavering tenor voice and seemed more at home singing sweet ballads than attempting vocals on jazz numbers. However his singing, together with his suave manner and handsome boyish looks attracted great attention, especially from young women. Vallee was given a recording contract, and in 1928 started performing on the radio.
Vallee became the most prominent and arguably the first of a new style of popular singer, the "crooner". Previously, popular singers needed strong projecting voices to fill theaters in the days before the electric microphone. Crooners had soft voices that were well suited to the intimacy of the new medium of radio. Vallee's trombone-like vocal phrasing on "Deep Night" would inspire later crooners such as Bing Crosby, Frank Sinatra and Perry Como to model their voice on jazz instruments.
Vallee also became what was perhaps the first complete example of the 20th century mass media pop star. Flappers (the predecessors of "bobby-soxers") mobbed him wherever he went. His live appearances were usually sold out, and even if his singing could hardly be heard in those venues not yet equipped with the new electronic microphones, his screaming female fans went home happy if they had caught sight of his lips through the opening of the trademark megaphone he sang through.
In 1929 Vallee did his first film, The Vagabond Love. His first films were made to cash in on his singing popularity, but Hollywood was pleasantly surprised to find that Vallee could act as well. Also in 1929 Vallee started hosting The Fleischmann’s Yeast Musical Variety Hour. Performers first introduced to the American public on that program included Jack Benny and Kate Smith.
Vallee would continue hosting popular radio variety shows through the 1940s, including: "The Royal Gelatin Hour, directed by Rudy Vallee", which featured various film performers of the era, such as Fay Wray and Richard Cromwell, in dramatic skits.
Along with his group, "The Connecticut Yankees," Vallee's best known popular recordings included: "The Stein Song" (aka University of Maine fighting song) in the early part of the decade and "Vieni, Vieni" in the latter '30s. A note of trivia: "Vieni, Vieni" can be heard in the background as Jimmy Stewart enters the restaurant in Frank Capra's holiday classic, It's a Wonderful Life. Remarkably for an American, Vallee sang fluently in three Mediterranean languages, and always varied the keys, thus paving the way for later pop crooners such as Dean Martin, Andy Williams and Vic Damone. Another memorable rendition of his is "Life Is Just A Bowl of Cherries", in which he imitates Willie Howard's voice in the final chorus. Vallee was also entertaining in George Gershwin's witty "Kitty from Kansas City", not to mention the first recording of tipsy laughter in "There is a Tavern in the Town", decades before Elvis Presley was to use that gimmick on stage in "Are You Lonesome Tonight?". His last significant hit song was the reissue of the melancholic ballad "As Time Goes By" from the soundtrack of Casablanca in 1943, which he had recorded fifteen years before it was used in this classic movie. During WWII, Vallee performed with the Coast Guard Band, entertaining US troops with this forty-piece orchestra until 1944.
When Vallee took his contractual vacations from his national radio show in 1936, he insisted his sponsor hire Louis Armstrong as his substitute (this was the first instance of an African-American fronting a national radio program). That same year Vallee also wrote the introduction for Armstrong's book "Swing That Music".
Vallee acted in a number of Hollywood films in the 1930s and 1940s. One of his best acting roles is as the millionaire playboy on whom Claudette Colbert relies in the 1942 screwball comedy directed by Preston Sturges, "The Palm Beach Story".
In 1955, Vallee displayed his comedic abilities in Gentlemen Marry Brunettes, co-starring Jane Russell, Alan Young, and Jeanne Crain. The production was filmed on location in Paris. The film was based on the Anita Loos novel that was a sequel to her acclaimed Gentlemen Prefer Blondes. Gentlemen Marry Brunettes was popular throughout Europe at the time and was released in France as A Paris Pour les Quatre ("Paris For The Four"), and in Belgium as Tevieren Te Parijs.
In middle age Vallee's voice matured into a robust baritone. (In his later years he told a collector of his early records that "Everything I did before 1950 you can shit on.") He performed on Broadway in the show How to Succeed in Business Without Really Trying and appeared in the film of the same name. He appeared in the campy 1960s Batman television show as the character "Lord Marmaduke Fogg". He toured with a one-man theater show into the 1980s.
His reputation in Hollywood was that of a tightwad, but he wasn't the only one. He also had a reputation for being one of the most difficult people in show business to work for. It was said that the two happiest days in a performer's life were 1) when they signed a contract to work for Rudy Vallee and 2) when their contract finally expired so that they could stop working for him. On several occasions, Vallee was known to have rushed into his audience in order to punch audience members who booed. He was widely suspected of being bisexual, although not much hard evidence exists, and his blatant affair with glamour queen and pioneer inventor Hedy Lamarr (and a self-confessed 144 starlets of lesser ilk) stifled the malicious whispers. He was married briefly to the much-younger and sexy actress Jane Greer, but that ended in divorce in 1944. His previous marriage to Leonie Cuachois was annulled and the one to Fay Webb ended in divorce. After divorcing Jane Greer he married Eleanor Norris in 1946, who wrote a memoir, My Vagabond Lover. Their marriage lasted until his death in 1986.
Rudy Vallee died on July 3, 1986 at the age of 84, and he was interred in St. Hyacinth's Cemetery, Westbrook, Maine, from which his headstone was stolen. Famous last words: "I do love parties", while watching a TV show.
Brother Can You Spare a Dime?
Rudy Vallee Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And so I followed the mob
When their was earth to plow or guns to bear
I was always their right on the job
They used to tell me I was building a dream
With peace and glory ahead
Why should I be standing in line
Once I built a railroad, I made it run
Made it race against time
Once I built a railroad, now it's done
Brother, can you spare a dime?
Once I built a tower up to the sun
Brick and rivet and lime
Once I built a tower, now it's done
Brother, can you spare a dime?
Once in khaki suits, gee we looked swell
Full of that Yankee-Doodly-dumb
Half a million boots went sloggin' through Hell
And I was the kid with the drum
Say, don't you remember, they called me "Al"
It was "Al" all the time
Why don't you remember, I'm your pal
Say buddy, can you spare a dime?
Once in khaki suits, ah gee we looked swell
Full of that Yankee-Doodly-dumb
Half a million boots went sloggin' through Hell
And I was the kid with the drum
Oh, say, don't you remember, they called me "Al"
It was "Al" all the time
Say, don't you remember, I'm your pal
Buddy, can you spare a dime?
The lyrics of Rudy Vallee’s “Brother Can You Spare A Dime?” provides a somber reflection on the desperation and desolation of the Great Depression. The singer of the song was once a part of the American workforce, building railroads and towers, but now finds himself jobless and struggling to survive. He had previously followed the American Dream of progress and prosperity, but his optimism is replaced with disillusionment. The line “They used to tell me I was building a dream” illustrates how the American Dream was only an illusion for many working-class individuals who were simply a part of the mass labor force.
The chorus, “can you spare a dime?” emphasizes the suffering and poverty that many Americans were facing at the time, and the refrain “Say, don't you remember, they called me 'Al'” highlights the loss of individuality among the working class. The song is a stark reminder of how difficult life was for many during the Great Depression and serves as a social commentary on the disparities of the American Dream. Overall, the haunting lyrics of “Brother Can You Spare A Dime?” provide a powerful representation of the struggles faced by Americans during one of the country’s most trying times.
Line by Line Meaning
They used to tell me I was building a dream
People used to tell me that I was working towards a great future
And so I followed the mob
I listened to and followed the opinions of the majority
When there was earth to plow or guns to bear, I was always there right on the job
Whenever there was work to be done, I was there, eager to do my part
With peace and glory ahead, why should I be standing in line just waiting for bread?
I was promised a bright future with prosperity and honor, so why am I reduced to standing in line for food?
Once I built a railroad, I made it run, made it race against time
I helped construct a railroad and made sure it was efficient and fast
Once I built a railroad, now it's done, Brother, can you spare a dime?
The railroad I built is now complete and I am in need of money to survive
Once I built a tower up to the sun, brick and rivet and lime
I constructed a tall building using bricks, rivets, and lime
Once I built a tower, now it's done, Brother, can you spare a dime?
The tower I built is now finished and I am in financial need
Once in khaki suits, gee we looked swell, full of that Yankee-Doodly-dumb
When we wore khaki uniforms, we looked great and were filled with a sense of patriotism
Half a million boots went sloggin' through Hell, and I was the kid with the drum
Many soldiers marched through difficult and challenging conditions, and I was among them, playing the drum
Say, don't you remember, they called me 'Al', it was 'Al' all the time
I was known as 'Al' during my time in the army, and it was how I was addressed for the duration of my service
Why don't you remember, I'm your pal, say buddy, can you spare a dime?
I was your friend during the difficult times we endured together, so please, can you lend me some money now that I am struggling?
Lyrics © Sony/ATV Music Publishing LLC
Written by: E. Y. Harburg, Jay Gorney
Lyrics Licensed & Provided by LyricFind
@exosvocals2526
They used to tell me I was building a dream
And so I followed the mob
When there was earth to plow or guns to bear
I was always there right on the job
They used to tell me I was building a dream
With peace and glory ahead
Why should I be standing in line
Just waiting for bread?
Once I built a railroad, I made it run
Made it race against time
Once I built a railroad, now it's done
Brother, can you spare a dime?
Once I built a tower up to the sun
Brick and rivet and lime
Once I built a tower, now it's done
Brother, can you spare a dime?
Once in khaki suits, gee we looked swell
Full of that yankee doodly dum
Half a million boots went sloggin' through hell
And I was the kid with the drum
Say, don't you remember, they called me Al
It was Al all the time
Why don't you remember, I'm your pal
Say buddy, can you spare a dime?
Once in khaki suits, ah gee we looked swell
Full of that yankee doodly dum
Half a million boots went sloggin' through hell
And I was the kid with the drum
Oh, say, don't you remember, they called me Al
It was Al all the time
Say, don't you remember, I'm your pal
Buddy, can you spare a dime?
@danjacoby3433
It’s fascinating to listen to this recording, since my grandfather did the orchestration and arrangement (he was Vallee’s musical director for about 15 years).
@jamesduclos2545
Westbrook Maine's most favorite son! 😊
@paulberry6016
Man, what a song 👌what a delivery... 🎉
@mr.fields662
I’m 12 years old but this type of music is the type of music that needs to heard and respected more
@rosemaryasmr4717
@MUHAMMAD AZIM BIN KHALID Judging by your bad grammar or overall rudeness i'm assuming you don't need to be saying that to a twelve year old.
@j.robertsergertson4513
It's 2023 ,and this songs about to make a come back
@gabrielalopetegui
Listening to the lyrics in the middle of Covid-19...so close to home for many. He sings with lots of heart.
@TF2SlyGuySaysHi
@MR.random57 that sure was random mr random
@WilliamDearthwd
And this time started less than a decade after a viral pandemic, that strain of influenza that killed up to 20% of those who caught it, and primarily by causing a cytokine storm produced by the immune system.
@racheldoesacrylic4089
heard this song in the film golddiggers of 1933 when i was about 12yrs old < 1973 > when it was on tv late one night / it really hooked me how brilliant they made the movies then /all the dancers and costomes etc/ a song that hits the real misery of the depression /man glad i was not born then//real music lives on for sure/